The Film Junkie

A sweet little road film about a father getting to know his son…except that the father is a transsexual and the son doesn’t know who his father is.  This film falls in places, but is pulled together by a brilliant (and Oscar nominated) performance by Felicity Huffman, as well as great (and largely unrecognized) work by Kevin Zegers as her son.  Above all this film has a large beating heart that survives despite judgement and extreme circumstance.  As a film it is good, not great.

Grade: B

A fun, frolicking film that proves Sienna Miller is actually an actress of some worth and Heath Ledger is not going to be cast as gay for the rest of his life (many people were suspicious of ‘Casanova’s release date coming right after ‘Brokeback Mountain’, since he is so unquestionably hetero in this).  This is remarkably an enjoyable film to watch.  Casanova (Ledger) falls into the wrong side of the law (Jeremy Irons) and pulls the wool over the eyes of a rich fool (Oliver Platt), but redeems himself by falling in love with an early feminist (Miller). 

This is not meant to be the ultimate tale of a great lover, instead it is sort of a false history (a less stylish and less musical ‘Moulin Rouge’) used to tell a funny story.  And much of it is funny!  Just don’t take it too seriously.

Grade: B/B+

Definitely not your typical Woody Allen film, this drama tells the story of a man (Jonathan Rhys-Meyers) who stumbles into the good graces of an exceedingly rich family and marries the daughter of said family (Emily Mortimer), only to fall into a passionate affair with an American actress (Scarlett Johannson).  It gets far more complex from there, but I wouldn’t dare ruin it for you.

Rhys-Meyers gives a tortured and conniving performance as the foolish Chris, but this film is all Johannson.  She proves herself to be worthy of the title of new Woody muse, like Diane Keaton and Mia Farrow before her (she is starring in his latest project ‘Scoop’, coming out later this year).  She is all sex and wildness as Nola, and we can see why any man would leave his wife for her, but also how she could become too much for anyone. 

This movie is a retread of ‘Crimes and Misdemeanors’ to be sure, but for a new age and with electric chemistry.  All those who thought Woody had lost his touch should officially be ashamed.

Grade: A-

A good romantic comedy lives on forever; despite odd fashions or tastes it will remain watchable for years to come.  ‘Bringing Up Baby’ through ‘Splendor in the Grass’ past ‘When Harry Met Sally’ to the classic and untoppable ‘Sleepless in Seattle’.  Thus there are many hopes placed on this film that joins the bad boy fast-paced improv of Vince Vaughn with the America’s Sweetheart self-deprecating Jennifer Aniston.  Oh yeah, and apparently they are getting in on for real (hey, it worked for ‘Mr and Mrs Smith’).

Luckily the film does not disappoint, not entirely.  It is a charming, and often raw and revealing, portrait of why relationships end.  Sure it is ‘movie’ reality, but many of the issues addressed will speak to most long term couples. 

The best parts of the film are between Vaughn and Jon Favreau, as his best friend, and Aniston and the incomparable Judy Davis, as her boss.  In both cases the leads are in their element.  That is not to say there is not chemistry here, it is palpable, but the true comedy comes out when they separate. 

This is a good, relevant film by Peyton Reed (’Bring It On’, ‘Down With Love’), who only seems to be getting better and better, with one of the best title credits sequences I have ever seen.  Kudos to Joey Lauren Adams (always one of my favs), Jason Bateman (unstoppable) and Justin Long (up and comer) for stealing scenes.  As well to Vincent D’Onofrio and Cole Hauser for offering two of the most disturbing brothers in screen history.

Grade: B+

A classic case of why novels should perhaps not be adapted for the screen.  Especially novels that work because they are intriguingly fast-paced, suspenseful and take a fascinating look into the ‘truths’ of human history.  Perhaps this would have worked as an HBO mini-series, or a five hour film, but as a major motion picture it falls decidedly short.

First of all, despite some genius casting decisions (Ian MacKellan is always a good call, Paul Bettany is great despite an odd accent and Audrey Tautou is excellent as Sophie) Tom Hanks is horribly miscast as Robert Langdon.  Instead of the odd sexuality of intelligence Langdon exudes in the book, Hanks comes off as a paternal figure.  A better choice would have been Johnny Depp, or perhaps Billy Campbell?  Hanks does not pull of the role at all.

Leaving the book aside for a second, the movie does not even work on its own.  It begins well but then falls into a trap of boredom (surprising considering the enviable material provided) and awful pacing.  Any scene without MacKellan is a bore because of the lack of chemistry between the two leads.  The locations are impressive but Ron Howard has yet to really prove himself as a director of any unique merit.

Grade: C